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The Community Is Watching, and Replying: Art in Public Places and Spaces Author(s): Anne Bray Reviewed work(s): Source: Leonardo, Vol. 35, No. 1 (2002), pp. 15-21 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1577070 . Accessed: 17/07/2012 08:13
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Anne Bray. live on the leftcoast (in Los Angeles). Public art-making. (? Anne Bray) This work appeared at four sites in Los Angeles and was meant to console feminist-phobic viewers. Personally. the homeless and the high brow. It was hand-painted by commercial billboard artists from a photographic collage.e. I feel I am approaching the number of elements I need to define the realities I want others to experience. I learned that I could respond. andnature. photography. U. I try to prevent ads from entering my eyes. 15-21. a required skill soon to be rare. society especially the deviants": concerning "three art The women. these static images did not suffice to reflect my worldview. Ads are on our orange peels. Single frames no longer can convey sufficient complexity. Through the video festivalI set up forums in which others may express in their own language. listen to public radio.hand-painted billboard. Eventually.e. 1. projectors. transmitted and sprayed over the world. The torrential power of mass imagery and messages would be opposed. Art using this technology can. change. Using the same instruments as the industry (cameras.Web site: <http://wv'w. 1990-1991. alienating me from my fears. protruding from the seams of our underwear and on our doorknobs and windshields. I lobby to prevent the telephone company from selling my phone number to businesses. It's Dizzying.S. Poverty and culture.freewaves. Latinos and Native Americans combined.. Switzerland. a media artsorganization festival and in and workingtraditional nontraditional throughout venues LosAngeles. or at least begin strategizing to do the same.A. artists who question defines theserelated realities how.com>. monitors. while in college in Geneva. sound systems. Neither does video fulfill all these artisticrequirements. audio.S. And through teaching public and media arts.which came to include motion. I think TV could have ended racism in the U.do not watch TV.with only 9% of the TV directors being women and with more extra-terrestrialson TV than Asians.A. No. language. The author describes her and public-art projects installain she tions. video-festival organizing and art teaching comprise my creative triumvirate. ? 2002 ISAST LEONARDO.however. i. L. CA 90039. 35. 3D screens and performers. projectors.A. pp. By contrast.S. sound and multiple viewpoints. hate TV. enveloping Fig. in Public Places ABSTRACT Anne Bray I will state up front that I am from the East Coast of the U. for example. etc. independent video festivals and education are all about speaking one's mind in the face of very large commercial structures and providing the space for others to do likewise.. public PERSONAL HISTORY In 1970. often commercial. pixellated. graphics materials and computer text and was sponsored by the artist space LACE and Patrick Media. diverted. often collaboration artist in with Cleator. 14 X 48 ft. ears and pores. siphoned off.ARTIST'S ARTICLE The and and Community Is Replying: Spaces Art Watching.In my artworkI place intimate images into public arenas or I manipulate public. 2151 Iake Shore Avenue. aneffort in to disseminate communityempowering artwidely. I refuse to give salespeople my addresswhen I make purchases and I throw myjunk mail in the recycling bin so it never enters my house. Public art.A. an artist or activist can tap the same power in the same pop language or expand perceptions of what mass media does and can do. Projected images and sound fill a space. E-mail: <freewaves@aol. language into personal messages. and sculpture performance. With 3. desires and culture. atrophied by pervasive edutainment.). 1. Vol. I fantasize about an artist-run TV channel to counteract the numbing but nerve-wracking reruns of stereotypes and to fill in some of the constant omissions. diversified. assistviewers to distinguish their realities from illusion. Thirty percent of the content of mass media is advertisements. I cut labels out. reprogrammed with a multicultural skew instead of a corporate bottom line. pieces The Molly unresolved spectacularize conflicts between artists the what regarding is personally truthful compared what as to dictates. personalized. redirected. wish I ran a TV station or at least a program and read massive amounts of mediadeconstruction theory. more specifically. corporate art. which hasemvarious combinations of ployed video. and The author alsooffered has hundredsartists forum of a called Freewaves. I let young people know these opportunities exist and give them the tools to make their own images. Anne Bray (artist). sound systems.000 ads in our face per day. They link the articles I read and the songs I hear and programs I do not watch. i. or reinvented. Los Angeles.org>. I found the 35mm still camera to be my vehicle of transition from a state of helplessness to that of creating my own visual utterances. but with the addition of slides. would quickly lose their sinful and alien tones. decks.. 2002 15 . there is much missing in our public pictures and many false mirrors presented to us.
PUBLIC SPACE sign.The Community Is Watching .and media makers. animation on an electronic detestable sound of TV. as year I began collaborating again. there is an unacknowl. ative equals in a society stratified in every Fig.whichwereblankduringthe day. and skyscrapers are I manipulate commercial images and by work with my mentors. (? MITfor the SkyArt Festival. billboardinstallation. Also during that approach directly influenced my pro. Freewaves. 1). In other bellini and Antonio Muntadas. The 1O-X-20-ft tions of the L. with the In urban streets. Massachuresponse. Madonna  and others. which had per.where the individual and collective ren. In some projects. I properienced most frequently on the to continue to engage a large populace. stimulation of 8 years living away from edged battle raging between architects I describe the works individually below. were sharpened than buildings.projects. cently. It's Dizzydepending on the time of day and there. I find my ideas in the same billboard featured a pair of eyeglasses L. nected Los Angeles. My environmental works ac. L.media installations. Four years of working at the trained to do social service in a Catholic artist space Los Angeles Contemporary PUBLICPROJECTS setting.sounds into personal messages. and where intimacy is ex. other way. television in college and Europe.SkyArt Festival (Fig.changing At pairsof slide projectionsof excerptedads perience rather than a commodity or luxjuxtaposingobjectswithpeople filled the eyeglassframes. has shown. 1981. goal . Personalized communication is my In 1982. No matter what format.nas. with city planners as Each one comments on the media and litical disagreements with the box. Between 1978 and 1982. Suzanne Lacy's Dark places in which I exhibit them. Street Scene Festival. a mall and a movie "WHAT ARE WE LOOKING AT?" At since 1989. at Massa. written or period I regularlycollaborated with other gramming. believed in collective me much about the media arts commu.that queried passersby with the text. tionship with viewers through my multi. I arrived in socially discon. 2). In thought I could aggressively pump art into with Antonio Muntadas on a busy commercial street in Cambridge. X 20 ft. works. partic. most re. Both art and politics rely on changes in perceptions based in our imaginations. I divided my practice in two: viewers' homes via television. My billboard projects used varying defriend is generally 15 to 60 minutes away. (5) relies on trust in people's potential and treats them as crea 10 MediaEyes. and a "white out" (erasure) of all meated my childhood home.all contain images and texts. Examples include billbers to present public art events in the use of collective action.the arbitrators. where there grees of technology. As both archi. setts in 1981. Vital art lives in a vernacular zone. (2) contradictsour commercialworldviews by being exhibited without demanding a price tag.public art to include media arts in order computer graphics for the layout. (7) offers a surprise. Freewaves festival. meanwhile. I lived Exhibitions (LACE) (1985-1989) taught in a commune.knowledge the community as their source and return to that origin so others may perceive them.commercial signs on six adjacent blocks. My media aversion had crystalinstallation.the dezvous. Molly events and settings.A.Ads are sometimes bigger its wider circumstances. this they can still be realized in mundane Muzak Inc. boards. time consistently with one artist. AnneBrayandAntonioMuntadas. ularly mainstream news.city officials and community mem. Awareness follows the perceptual changes that result and can then lead to cultural and political participation. my own public-artprojects are processes. an outdoor audio Boston. I grew up in a large family and was Cleator. particularly.A.A.tecture and media often dwarf the public. used only photography and fore the traffic.A. the audience in the artist's world. sponsored by MIT for the producing individual public art projects and administering such projects as por. The first. As contradistinctive to prevailing practices as these ideals are. sponsoredby MA. My po. 2. ury.are fewer pedestriansthan ads. socialized with progressives nity and art administration.night. a street banner. the art that I most appreciate (1) shows that we live in a media culture that can express the personal realm if programmed to do so. a video installation in a lized by that time from contrasting the restaurant. night. I insert carefully selected private chusetts Institute of Technology's Center I try to create a more egalitarian rela. (3) reflects technology's potential use for individual and collective benefit. I redefined ing (Fig. Aldo Tam. (4) offers audiences a challenge in a milieu that usually associates change and difference with fear. (6) emphasizes art as an exAnneBray)Thisworkappearedon a commercial streetin Cambridge.discussions and images into public arefor Advanced Visual Studies. Festival. The concerns of my own art audible. indoor and outdoor. They and taught large classes.topped with trademarks. I duced MediaEyes. for instance.and (8) inclines audiences to reward the artists with ample feedback. came to mandate of the format.a billboard installation telephone or more recently on-line. After moving to Los Angeles. where one's best and through the L. Mypublic-art site specific in content and torm. in an accessible style reflective artists. paired slide projections of close- 16 Bray.In general. That same theater.
During this same time period. While showing her lack of power. for example) could remove 5.The work was sponsored by the Public Art Fund. which incidentally brought technology into an otherwise very low-tech project and fortuitously disseminated its ideas far and wide. Institute of Contemporary Art and Installation Gallery in San Diego. 4. two busy intersecting streets in Santa Monica.e. L. "IDON'T BUYIT." After months of negotiations. militarism and commercialism. Fig. Single-Handedly. misogyny. 1985. newspaper and LED readout and commented that the price of ads was alienation. It was sponsored by the Public Art Fund. and five other kinetic signs now share the same building facade. I performed a test and discovered that one person (I. a Single-handedly. been previously shown as a temporary outdoor slide projection as part of Projections Publicby Foundation for in Art Resources. 3. In it. newspapers and magazines covered the event.A. The words were intentionallyjuxtaposed to the image to stir a particular swarm of related issues: festering feelings about past Pacific wars. 30 hand-drawn frames were entered into a graphics computer and then programmed to be animated. eight TV stations.audio cassette player and TV. i. because no art organization or billboard company would display it outdoors (Fig. gun control. View- ers potentially confronted their own xenophobia. Anne Bray. reads magazines and Fig. Thirty hand-drawn frames were entered into a graphics computer and then programmed to dissolve. cut and generally animate. electronic readout. In White Out." That lightboard has since been replaced by a giant video screen. storeowners consented to allow this for half a day. big and bold. adjacent to Los Angeles. with the words "Arm"and "Me"on either side. it basically asked why the viewer would not give this woman a gun. newspaper.The Community Is Watching 17 . were temporarily covered in white or "erased. It had.an indoor billboard composed of fiberboard. media manipulation of women and socially tolerated degrees of feminism. Next. The work was sponsored by the UCLA Art Council with Wight Art Gallery in 1985 and covered by six TV stations and newspapers. 1989. Since I favor ideas over format. (? Anne Bray) Approximately 500 signs on 42 adjacent stores on both sides of Lincoln and Broadway. performs in Hollywood films and TV shows. Doing this felt like housecleaning a city. fluorescent paint and black-and-whitephotos. Anne Bray. appeared every 6 minutes on a 20-x-40-ft electronic billboard over ultra commercial Times Square in New York. (? Anne Bray) The piece appeared every 6 minutes over Times Square in New York. the hand faced presented its palm to the viewer for the first time and waved good-bye while removing the words "BUY' and "THE PRICE IS ALIENATION. the commercial signage (Fig. 40-second animation (1989) (Fig.ups of ads (evolving gradually from images of people to objects) filled the eyeglass frames. the store owners gave their consent for me to blank out all signs and ads for half a day at Lincoln and Broadway in Santa Monica. approximately 500 signs. The drawn hand dismissed a commercial billboard. TV. in 1985. Its text read. a West Coast native. however. Ironically. some projects only used technology indirectly. A 10-x-20-ft image featured aJapanese-American woman's face and cropped shoulders in the center 40-sec animation on a 20-X-40-ft electronic billboard. Bray. against a fluorescent red background." After months of negotiations.BUT I PAY FOR IT.000 ads posted on public property if she spent only 4 hours a day at the task. A simple row of black lights nightly transformed the eyeglass image into an eye-catching question mark. I have collaborated with Molly Cleator. COLLABORATIVE INSTALLATIONS Since 1989. 5). maintained her other commitments as well. on both sides of two busy intersecting streets were temporarily covered in white or "erased. WhiteOut. 3). 4) for 42 adjacent stores. I chose to show ArmMe." The images were scenes of a hand removing ads on a billboard. who watches TV. radio. in the FacultyExhibition at the Universityof CaliforniaSanta Barbarain 1989.
The subject of our unscripted patio. the mall's doors framed the passing consumers in their social/cultural/recreational milieu. reminding resolution is assumed to be a process in. performance art. clarify. we promass media as a powerful and potentially duced TheGap. X 16ft.R. which we saw as absent human through mass media.director's. A viewer could sit in each chair depicted in the photographs and reflecting each of our social positions and thus experience each of us personally and collectively.sual and verbal dialogues. The piece basically asked viewers why they would not give the depicted young Asian American woman a gun. servations and projections onto our viaccepting or rejecting the dominant cul. Shoppers became the subject. Viewers first chose computer-controlled. reclining. From an inside vantage point. dering interrupted and shattered comevaluate and come to some understand. office-swivel. my opposite.I. Our projects mass media blocked communication and combine my interest in politically se.munication. to develop more communication across the gulf between artists and supporters and to explore class differences in the arts. was 165 assorted chairs lent by the local comstaged inside a 5.fears and desires as opposed to hasty. Our 1996 piece God Doesn't Have a Mouth (Fig. 7) in an unleased retail space in SantaBarbara'sdowntown shopping mall.viewers to decide for themselves.000 square foot gallery munity as they collided.inhibited self-knowledge. In 1993..indoorbillboard. We offered ema verit6-like dialogue combined in a the viewer this choice of chairs as commotorized dance to reveal the psychic dis. encountered during the project. conversed. 6). student. 9) also used familiar chairs.guments regarding television.from which to form theirjudgments.A. and installapublic spheres and my history of creat. audio. personal possessions and two soundtracks comparing woman as object with art as object. auditorium sation was communication and the me. entitled Easy pation. part of an exhibition about public art and collaboration . The contrast between the ing of the dialectic of selfhood and social live. In individual meetings in the homes of nine affluent white volunteers. We examine other polarities as frames in which our images appeared. and Installation Gallery. alienation. in conjunction with Santa BarCleator presented her conception of bara Contemporary Arts Forum.sity of California Santa Barbara and previously shown as an outdoor slide projection by FA. ture and its imposed values. Our facial images were shown on two zagged and swiveled in an open-ended. chairs. whether they merely walked by or sat. In our 1994 work What Can I Say (Fig.judgmental projections upon random passersby. to discover our similarities and differences as cultural volunteers. obgotiate our way through the world. The installation encouraged particiOur first joint effort. a poetic list of objects noted during visits to each other's residences. Their synthesis or non. Everyone who passed participated in the piece. we instigated a cultural-personal exchange with female art patrons who were among the sponsors of the exhibition.The in autobiographical material and her ex.our references to autobiographical matress in film. 1989. The "public" participation in this exhibition was narrowed to the exhibition's nine local patrons and the two artists as a microcosmic educational process that all viewers could experience at the final exhibition.C. Sculpture and cin. The result was an installation of life-size photographs. L. terial were impinged upon by the traThrough our work. The wheelchairs were ringed by Chair. listened. positive and neutral terms referring to women and emanated from speakers aimed at our portraits. performance-based imagery and our participation. Me. conformity. class divisions. lected personal material appearing in Video. climbed the walls (as some children did) or spoke back. which refers back to the conversation was mediated by the TV audience. whose tural alienation and enter different sec. placed them at center stage and provided seats for them. 8). we created a world in which every prop and costume was either black or white: a black judge's robe.5.ElectricChair (1992) (Fig. a white lifeguard 18 Bray. well: male/female. zig. motorized wheel. This time.initial intimacy of our conversation and perience as a performance artist and ac.fortable but challenging new positions placement we experience as we try to ne. video and photographs. theater and television. we confront our cul.forms ready for viewers to fill.an unguarded installation (Fig.The Community Is Watching . was recorded by all participants and emanated from speakers placed among the objects.their subjective positions among dinette. I insisted that other words. chairs . while audio loops provided a soundtrack to the scene. we addressed each other's power. barber. stereotypes and other psychological conceptions. pop The monitors undercut both of our arversus fine art.Electric Chair.jectory of the mechanized chairs. beanbag. object and audience for this piece: we discussed them. Arm 8 Fig.(? AnneBray)Shownat Univer- needs to be plugged into pop culture. Our intentions were to discuss art's role in each of our lives. portable TV sets mounted on two videotaped dialogue. One track. The shoppers' recorded dialogue was contrasted with personal statements about our own self-worth. AnneBray.and many other single or collective diation of information and imagination chairs. but outlined one-hour recorded conver. in communicative forum.tion merge both formally and conceping media installations with her interest tually in Easy Chair.seemingly random and aimless meantors of the mainstream to explore. dividual to each observer. the other track was a list of negative.A.
museums. cable outlets and com- Fig. FREEWAVES In reply to the gushing media hose aimed at each of us. Freewaves works hard to get those tapes to the same cultures that made them and to their neighbors. 6. 1993.The Community Is Watching 19 .A. L. a 20-minute two-trackaudio loop played in the rafters of this unguarded storefront installation.chair.A. One way I define power is my ability to make effective art for audiences accustomed to media bombardment. discussing fears and desires incited by shopping. Easy Chair. a black-and-white polka-dot dress. plus 8 hours of programming on 14 cable systems. * Powerlessness is relative: Is it everything short of omnipotence? * Is power getting one's way or bringing about changes in other people's actions/conditions? * Can powerlessness be eliminated? Or can power be universalized? The issue of power is appropriately addressed using technology to amplify our capacities to question power. talking heads discussing their mutual alienation and contrasting their respective embrace and rejection of mass media during a one-hour unedited intimate conversation at the Santa Monica Museum of Art in 1992 and at Banff Centre and Images du Futur in 1993. live spoken text investigated the differences of our opinions regarding the negative and positive intrinsic qualities of power. * One can be unqualified to have the power that one has or wants. which leads me to my other project. Many cultures have no feature-length self-images (i. cafes.who was wearing a gown and lying in an odalisque pose. curated by Marilu Knode in and Erica Daborn.e. Screenings were held at galleries. Freewaves. often narrowly defined by mass media as money and might. L. Most people venture beyond their cultural boundaries only through film and TV .A. 1993. * Everyone ultimately feels powerless. In April 1989. movies) but do have at least short inexpensive. independently produced videotapes. * Power is the ability to have others heed your definition of reality. founded and continue to direct an organization in which media and public art intersect. a white bridal veil. the word "nobody" was projected rapid-fire among other terms for women on Molly. etc. Concurrently.Women's Voices the 90's. Fig. * Power and powerlessness are intrinsically neither good nor bad. * Power can be both creative and destructive. with 35 different exhibitions and 31 repeated screenings of 185 tapes at 30 sites.e.In November of that year. The Gap. 7.A. audio installation. L. Another is my ability to question these issues with the public without a personal trust fund. From our perspectives as women. The work's 165 chairs offered many social positions from which to see the piece. a nonprofit media arts organization. ElectricChair. (? Anne Bray) This work appeared in a mall as part of Backtalk. pluralistic festival celebrating the diversity of independent video in Southern California. a coalition of regional arts and community organizations met and identified the need for a democratically run. Freewaves's 1st Celebration of Independent Video took place. (? AnneBray)Twomotorizedwheelchairs were each mountedwithvideo-projected determined by where film and TV companies allow them to go. Anne Bray and Molly Cleator. Where they may venture is then Bray. we examined definitions of power in order to create new relations to the powerful and powerless within ourselves and others. I conceived of. L. a houndstooth circle skirt. * Power may be merely the feeling of kinship with the powerful. While again inviting viewers' psychological projections onto our work. Anne Bray and Molly Cleator. Some definitions and questions regarding power directly and indirectly included within the piece were: * Power determines how much time and space others allot you. the rest of us. a black witch's hat. we literallyprojected slides and video onto 3D objects that further multiplied their interpretations and judgments. For example. i. kinetic video installation.
For example. Deep Dish TV and Moscow TV aired L. Freewaves had librariansand teachers repackage the latest festivals into exhibitions for Los Angeles's 74 major public libraries and 40 public high schools. The librarians selected work that others had censored. age and gender ghetto-ization that was common at that time.e." i. Driven in part by increased access to desk-top video technology. TV at Large. bookings and press coverage to double. incorporating inter-generational.000. generating very lively discussions. L. less defensive.A. of these 10 women. Freewaves's debut became the country's most extensive video festival. cable TV showed the trial and broadcast TV inflamed the violent reaction to the notguilty verdict. In 1994. 12 artists designed "living-room" installa- 20 B-ay. munity centers in four counties. In 1992. What Can I Say. projecting independent videos on a large scale. less class-biased and distant views of these events and situations than TV did. as part of Collaborations. The work appeared at The Armory Center for the Arts in Pasadena. schools and art centers. while another explored different sizesof turf. entitled Private TV and PublicLiving Rooms. our 2nd Celebration of Independent Video caused our budget. Although designed as an experiment in multi-ethnic programming. 10 chairs. and the consequent ethnic.A. In two other programs. In our 3rd Celebration of Independent Video. L. sitting in the chairs. Freewaves's network of contacts produced two 1-hour programs.A.A. many viewers saw live coverage that lacked the perspective that time and/or familiarityprovide. During the screening of over 400 entries. We contracted 10 very diverse curators to select the festival's programs for our 4th Celebration of Independent Video. video has become more diversified.A. racism. CA. youthful. curated by Karen Moss. Freewaves formalized its democratic curatorial process. The 90s Channel (now called Freespeech TV). L. the democratic process generated 10 provocative exhibitions and a model for better programming in future festivals. Despite many risks. gender formation and labor issues. narrative. with new aesthetics emerging daily from home workspaces. in 1996. 1994. multigenre. Its scope and public reception brought together individuals and organizations from grassroots to high profile into an ongoing media alliance of Los Angeles's social. Anne Bray and Molly Cleator.from individualto intergalactic.A. and revealed their biases blatantly instead of subconsciously. audio-photo installation. L. Teachers of language arts. a number of hidden. Viewers could try "walking in the shoes. In a highly emotional situation. Freewaves presented a new spectacle event. which aired and screened in all partsof the city to give very different.at Los Angeles County's outdoor amphitheater. which are now available via our web site. hetero/homosexual perspectives.A. young video makers examined sexual issues without the moralizing of their elders. called Road Shows. Merelymonths after the civil unrest in the city. to reflect with their longstanding commitment to upholding free speech. Freewaves programs nationally and internationally. it evolved into far more. L. Curated video programs appeared at 104 art and media venues. thus creating a more inclusive definition of independent video as well as many new thematic ways to combine tapes. traveled to most parts of the city. personal instead of institutional. L. We published and distributed 30. In 1995 and 1997. Each subject was difficult to find information about outside of mainstream material. This hot-off-the-pressesmaterial offered thoughtful. TV aired it thousands of times. As a culmination of its 4th Celebration of Independent Video. In 1991.A. 10 sets of objects and 10 photos. (? Anne Bray) Two audio tracks opposed the images of eight art collectors and the two artists. screenings and broadcasts to include nearly 425 local venues and 330 international video makerswith a live audience of 29. school and cable stations throughout Southern California.turned the conventional living-room television viewing experience into an idiosyncratic rethinking of our personal and public relationships to TV. despite having the same budget. eclectic. describing artists' critiques of television as well as their proposed alternatives. The 5th Celebration of Independent Video Etc. replacing the old model of curation by categorization. inside perspectives that were desensationalized.Fig. to many audiences who had never seen independent material by makers of their own culture or any other. 8. The results varied from dead-silent respect to yawning indifference to thrilling cheers.000 guides to over 100 media resources throughout the Los Angeles area. simplistic or erroneous perceptions by curators about unfamiliar communities came to light and were quickly rectified by other curators. The year 1992 was also a pivotal one for video in Los Angeles: Home video captured the beating of Rodney King by police.000 and a broadcast audience of 25.They helped to render the information comprehensible and mend the information gap that incited so much of the telecast misinformation. American studies and interdisciplinary teams selected subjects such as immigration. while women as objects were compared to art as objects. illustrating that issues about the body among feminists and gay males were parallel. omissions and distortions. Freewaves toured showing these two programs and two other programs about racism to all parts of the city.documentary and animation.The Community Is Watching . Freewaves's 3rd Festival expanded its exhibitions. Four thematic programs. This disparate group combined video art. social studies. L. one program included tapes by single heterosexual women and gay men. In the enormous Geffen Contemporary Annex of the Museum of Contemporary Art (MOCA). cultural and economic diversity.
Anne Bray and Molly Cleator. Suzanne Lacy's Dark Madonna was a one-night performance culminating a race-and-gender-based series of discussions among women. References and Notes 1. L. mediaa of artsorganization andfestivalin LosAngeles. L. yet dispersed throughout the city again. How will we negotiate our future across so many layers of differences. Cambridge Arts Council and others. 6.video installations at other venues and a web site with links to selected artists' sites at <http:// Each festivalbrought www. combining sonal and socialpositions via video. L. * teaching media literacyin the schools in all grades * encouraging video productions by people living within cable districts * wide access to Internet production and information via libraries * dissemination of independently made tapes through video stores and libraries * placing artists and activists in charge of well-publicized satellite TV programs * letter writing. and * uncensored yet sensitive publicly visible art. ADOBE L. audio.The Community Is Watching 21 . 4. The Public Art Fund. 1996. this time via video tour buses. California. The computer interface was designed by Guy Marsden of Art Tec (formerly of Santa Monica and Oakland). The exhibition was curated by Karen Moss for the Armory Center for the Arts in Pasadena. Los Angeles Contemporary Exhibitions with Patrick Media. community truths and financial force-the power of consciousness. It was later shown at Images du Futur in Montreal in 1992 and at BanffCentre's exhibition Angles of Incidence: Video Reflections of Multimedia Art Works in 1993. Italy. perceptual change. after which some of the writers of this graffitiwent on the bus and explained their pieces at a major graffiti yard. a borderless public new worksby over 150 artists. I advocate vigilant protection of access to freespeech avenues and venues for the public. 5. 68 schools.A. Freewaves'sprograms of videos. Freewaves artists'growth into these formats. sounds and texts to offer us new understandings of the past and future. Freewaves. and an updated list of Southern California media-arts resources. to stations and advertisers. It contained manifestos. economic issues and current urban myths.A. shareware for web browsing and web authoring. 74 libraries.org>. aesthetics and angles unseen in mass media. to assist us across our own mental borders. After one weekend the video programs dispersed to 50 other venues and public-access TV stations. physical presence. Festival was an unconventional citywide festival coordinated twice by Peter Sellars. teaches She new-media arts at Claremont GraduateUniversity and art at the University of Southern public California. CD-ROMsand web sites by 140 artistsabout home. CONCLUSION I produce an intracity media-arts festival in Los Angeles to test my theories about communication in a centerless city filled with people from more than a hundred cultures. media.freewaves. negative and positive. Community Redevelopment Agency. Gerald Yoshitomi. information exchange.A. facts. to create new relations to the powerful and powerless within others and ourselves. 32 cable stations.A. These temporary public-art projects have been commissioned by art venues and city agencies: Armory Center for the Arts. girlhood. political voice. The piece debuted at the Santa Monica Museum of Art. L.. used audio. LA in the Year2000. God Doesn'tHave a Mouth. She exhibits her temporary installations in perpublic sites and art venues.000 artists.tions that complemented. masculinity. copies of web sites. Some others are: Fig. presenting attitudes. slides and two performers to explore definitions of power from our perspectives as women. University of California Los Angeles Art Council. an alternative architectural group. Anne Bray is an artist and teacherand the executive director L. Freewaves is still a growing democracy of 65 arts organizations. Manuscript received 28 August 1998. re-read and translated murals and signs along the route. 1991.A. cable shows. interpreted and contextualized L. traditional. This technology could be the antidote to the centralization of the entertainment industry into a handful of megacorporations. cityrun festival in Downtown Los Angeles in the 1980s. but there are others adaptable to all interests and professions. in 1990 and 1993. stories. 2. First Night Inc.One illustrativevideo bus tour traveled past Latino vernacular architecture and graffiti art while two documentaries shown on overhead monitors described the street issues and aesthetics presented outside the windows.installation-performance. The coalition produces a major festival every 2 years.A. new media workshops and a web site. Bray. The festival itself produced a CD-ROMand distributed it widely for free to provide access for people unfamiliar with the Web. The festival is one means of presenting such work. Side Street Projects. The curators wanted to offer a model to museums for their future presentations of these new formats. including low-cost new-media services and the new wave of youth-access centers.A. report by the 2000 Partnership.. 9. During this era of the privatization of culture. topped with many shared problems? Artistsare producing new images. (? Anne Bray) This 1-hour piece at Civitella Ranieri Center in Umbria. an extensive follow-up tour.A. Art could provide spiritual strength. L. New YorkAvant Garde Festival.public television. longing. The 1998 and 2000 festivals.A. video.culturejamming. Street Scene was a very large.All Overthe Map and Air Raids. 3. The introduction of web and CD-ROM art to the festivalmirrored L. 35 programmers and over 2000 videomakers. Freewaves has shown experimental video and new-media works by over 2. They therefore curated the works thematically and showed them both on-line and one piece per computer at the museum. returned to MOCA with screenings. CD-ROMsand web sites there. slidesand 3D screens.
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